The idea of making an epic with grandeur entailed sets
that would enhance it. Wherein the sets would be monumental,
just like the story and the characters.

Keeping in mind a backdrop of the 1930's, immense research
went into study of the city of Calcutta and the culture.
Discussions, fervent sketching & subsequent prototype
models later, the sets were created. Designing the sets
alone took nine months. Creating them took even longer.
And when they majestically stood, they spoke the story
of unparalleled wealth. Mental, physical and actual.

The sets had to be such that the characters had to be
lost in the space, yet stand out powerfully. There was
a lot of depth in each set as well as dynamic use of
space and innovative colours which reflected the characters,
their thought processes and situations.

The house of Devdas was grand and tall with huge pillars.
The predominant colours used were yellow and green and
reflected a 1911 British look. There were around 180
pillars, each 60 feet high. It reflected the aristocracy
and imposing nature of his family. The whole house was
around 250 feet long. The pillars were effectively placed
so that one could see through and through the pillars.
Perphas a metaphor of reaching into the depth of the
mind of Devdas...

Paro was a delicate symbol of beauty. For her house,
a mix of pinks and blues were used. The house was made
with stained glass which reflected her beauty and mirrored
her dreams. Zamindar Bhuwan's haveli in which a married
Paro goes on to live was huge with long corridors. So
huge that when she wants to meet a dying Devdas at the
end, she has to run and run. One sees her becoming smaller
and smaller and finally get hidden within the length
the mansion. She never makes it to see Devdas and thus
came out the pathos. The house also had painted walls
with stand-still figures. Thus telling the story of
Paro who without Devdas was like the paintings. Viewed
as having life, yet quite lifeless.

The biggest set of them all was Chandramukhi's mirror-
bedecked, gold pillared Kotha. Perhaps the costliest
set of made in the history of Hindi Cinema. The set
was created in a Bombay Studio around a lake, as the
kotha was to be in 'Benaras' overlooking the 'Ganga'.
The Kotha had to reflect the flamboyance and beauty
of the courtesan. The hall in which she danced, had
60 explicitly carved domes with a stupendous 6 feet
tall chandelier. At night when all lights lit up the
'Kotha', it reflected the brightness that Chandramukhi
brought into the lives of the rudderless people who
came to her for respite.

The sets gave scope to the characters to appear 'big'
when life treated them tenderly and 'small' when happiness
escaped into oblivion...